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Thirty-fifth
Annual Cornell Banquet
3
ant tliinkiitn tamjjht of mH "lo tnllrur timm.
31 am breaming of tituiu Hat are fliutni.
ISt thr jogs anil tt» strifr of rait alia rull-iw lt&-
Ah, tttna- it atiis m_r_ tlte brut 3 [tab- liiitutm-
HOTEL BUFFALO
BUFFALO. N. Y.
TOO ECCENTRIC
ARTIST FACES
REAL HANDICAP
Famous Stars Approach Microphone With Ease and
Confidence
Artistic temperament is one of the
elements to be considered in radio
production work as well as In stage
presentations, according to Kolin
Hager, production chief of the Buffalo Broadcasting corporation.
The artist inclined towards the eccentric, unexplainable actions will
find himself at a disadvantage at the
B. B. C, however. For once he is in
the studio, he will find the door
locked and though the windows are
open, they are 18 floors above the
pavement. And so any display of
spirit would be more timely prior to
the broadcast than during the period
on the air, while on the stage the
psychological time from the artist's
standpoint seems to be between acts
when substitution would be extremely
difficult.
Al Zink, who is a veteran in both
the radio studio and on the legitimate stage, has grown into very diplomatic ways in his many years of
directing presentations. Recently a
woman seeking a part in one of his
plays came to him with the information that an astrologist had advised
her that she had ''something in her
voice." After an audition, Al had to
inform her that the "something" did
not have "value in terms of broadcasting. Some of the people want to be
starred every time they go on the air.
but Al often shifts the cast around
to see the full extent of each one's
ability so that he will be prepared
for any emergency. As a result, he
has found that a lot of the actors
are more versatile than even they
themselves know. He finds that it is
advisable to let the thespians act out
their lines before the microphone. '
Louis Dean, program director of
WGR interprets a display of temperament as a subterfuge for mediocrity
and shiftlessness.
Rosemary Cramb, who is one of the
directors of dramatic effort in the B.
B. C. studios, tells of the time when
Mike McTigue met more than his
equal in the microphone and turned
and fled from the studio just as the
announcer gave the signal for him to
go on the air. It was necessary for
someone else to give the talk for the
erstwhile fighter.
Fears Compact
Lowell MacMillan, member of the j
announcing staff of the B. B. C, is!
perfectly calm at all times except
when girls going before the microphone take out their compacts and
begin powdering.
Walter Amidon tells of the perfect
ease felt by many such stars as Mildred Harris, Jack Dempsey and
Estelle Taylor in the presence of a
microphone. There is not the slightest change in their manner during
their conversational period before the
announcer energizes the microphone,
and after the broadcast begins. On
many occasions actors and actresses
insist on appearing in the studio in
the same costume as they wear on
the stage in the particular roles they
are to portray. Princess Nacomee,
who has been heard frequently over
Buffalo's stations in Indian legends
and songs, always wears her costume
lor broadcasting.
Some artists make known their
preference for this or that announcer.
Robert Strigl, a veteran announcer,
declares that temperament is nothing
more than plain stubbornness and is
entirely inexcusable.
Herbert Rice tells of a pianist who
had his own piano moved to the
studio and refused to go on the air
when he discovered that the piano
bench had not been brought to the
scene.
In a recent broadcast, Audrey Ely
discovered the music director had
forgotten to supply the words for the
number she was to sing "jtather than
sulking, Miss Ely rear;lly assented to
novelty pre-

Thirty-fifth
Annual Cornell Banquet
3
ant tliinkiitn tamjjht of mH "lo tnllrur timm.
31 am breaming of tituiu Hat are fliutni.
ISt thr jogs anil tt» strifr of rait alia rull-iw lt&-
Ah, tttna- it atiis m_r_ tlte brut 3 [tab- liiitutm-
HOTEL BUFFALO
BUFFALO. N. Y.
TOO ECCENTRIC
ARTIST FACES
REAL HANDICAP
Famous Stars Approach Microphone With Ease and
Confidence
Artistic temperament is one of the
elements to be considered in radio
production work as well as In stage
presentations, according to Kolin
Hager, production chief of the Buffalo Broadcasting corporation.
The artist inclined towards the eccentric, unexplainable actions will
find himself at a disadvantage at the
B. B. C, however. For once he is in
the studio, he will find the door
locked and though the windows are
open, they are 18 floors above the
pavement. And so any display of
spirit would be more timely prior to
the broadcast than during the period
on the air, while on the stage the
psychological time from the artist's
standpoint seems to be between acts
when substitution would be extremely
difficult.
Al Zink, who is a veteran in both
the radio studio and on the legitimate stage, has grown into very diplomatic ways in his many years of
directing presentations. Recently a
woman seeking a part in one of his
plays came to him with the information that an astrologist had advised
her that she had ''something in her
voice." After an audition, Al had to
inform her that the "something" did
not have "value in terms of broadcasting. Some of the people want to be
starred every time they go on the air.
but Al often shifts the cast around
to see the full extent of each one's
ability so that he will be prepared
for any emergency. As a result, he
has found that a lot of the actors
are more versatile than even they
themselves know. He finds that it is
advisable to let the thespians act out
their lines before the microphone. '
Louis Dean, program director of
WGR interprets a display of temperament as a subterfuge for mediocrity
and shiftlessness.
Rosemary Cramb, who is one of the
directors of dramatic effort in the B.
B. C. studios, tells of the time when
Mike McTigue met more than his
equal in the microphone and turned
and fled from the studio just as the
announcer gave the signal for him to
go on the air. It was necessary for
someone else to give the talk for the
erstwhile fighter.
Fears Compact
Lowell MacMillan, member of the j
announcing staff of the B. B. C, is!
perfectly calm at all times except
when girls going before the microphone take out their compacts and
begin powdering.
Walter Amidon tells of the perfect
ease felt by many such stars as Mildred Harris, Jack Dempsey and
Estelle Taylor in the presence of a
microphone. There is not the slightest change in their manner during
their conversational period before the
announcer energizes the microphone,
and after the broadcast begins. On
many occasions actors and actresses
insist on appearing in the studio in
the same costume as they wear on
the stage in the particular roles they
are to portray. Princess Nacomee,
who has been heard frequently over
Buffalo's stations in Indian legends
and songs, always wears her costume
lor broadcasting.
Some artists make known their
preference for this or that announcer.
Robert Strigl, a veteran announcer,
declares that temperament is nothing
more than plain stubbornness and is
entirely inexcusable.
Herbert Rice tells of a pianist who
had his own piano moved to the
studio and refused to go on the air
when he discovered that the piano
bench had not been brought to the
scene.
In a recent broadcast, Audrey Ely
discovered the music director had
forgotten to supply the words for the
number she was to sing "jtather than
sulking, Miss Ely rear;lly assented to
novelty pre-